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This book is a celebration of India through Hindu eyes. Those eyes are of sages and kings, artists and artisans, potters and poets, rasikas and bhaktas. In that journey we remember the almond-shaped eyes of Shrinathji, the round eyes of Jagganathji. Those are human eyes through which we have received the darshan of our gods and goddesses and also the blessings of our elders and teachers. Those eyes are ancient and have witnessed magnificent kingdoms and trackless empires. They have watched the creations of monumental temples as well as charming havelis. They have travelled through the pages of history and chronicled the glory of the raja and the praja. Hindu eyes see the past even when they watch the present for they guide us through linear time but when we close our eyes we contemplate in circular time. Our eyes delight in asserting the finite but they rest when they find the infinite. They rejoice in the various akritis but they direct us to our sanskriti. They have been witness to our love stories and heroic sagas. They have smiled and spoken, invited and whispered. Hindu eyes belong to our mind which is buddhi pradhan but they throb with our heart which is bhava pradhan. They are the eyes of a people for whom adornment is beautiful but the serenity of ananda is blissful, for those eyes are the windows of our atman forever seeking the Brahman. Join us in this celebration.
This book is an autobiographical essay of Dr K.R. Rao, offering a possible source to inspire the aspiring individual not only to set noble goals but also find possible ways of reaching them.
““This book is an autobiographical essay of a man who rose from a humble beginning in a remote village with one room elementary school to attend the University of Chicago, with its impressive Gothic structures ranked among the best in the world; and to become the Chancellor of a prestigious university in the country. Dr Rao attributes all this to destiny. Destiny in this view constitutes the circumstances in which one is situated; but it is the deftness with which one manoeuvres himself through the maze of circumstances that really matters in the final analysis.
The book is offered as a possible source to inspire the aspiring individual not only to set noble goals but also find possible ways of reaching them. Blessed is the one who moves his way upward without hurting himself or others in the process. This has been the guiding principle of Dr Rao.”
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Published in 1862, Beveridge’s A Comprehensive History of India is an important landmark in the historiography in modern India. In writing it Beveridge did not trust to previous compilations but derived his materials as much as possible from original and official sources. Written after due research in a perspicuous style, Beveridge has narrated the history of India beginning with its earliest period and continued to be mutiny of 1857, thus making his history a complete and comprehensive history of India. Besides, Beveridge’s interpretation of history is more objective and impartial than many historians of India who wrote before and after him. As a result it became possible for Beveridge to see the many events of Indian history without being biased. That is why Beveridge will find today more readers than, say, historians like Mill’s and Vincent Smith.
Published in 1862, Beveridge’s A Comprehensive History of India is an important landmark in the historiography in modern India. In writing it Beveridge did not trust to previous compilations but derived his materials as much as possible from original and official sources. Written after due research in a perspicuous style, Beveridge has narrated the history of India beginning with its earliest period and continued to be mutiny of 1857, thus making his history a complete and comprehensive history of India. Besides, Beveridge’s interpretation of history is more objective and impartial than many historians of India who wrote before and after him. As a result it became possible for Beveridge to see the many events of Indian history without being biased. That is why Beveridge will find today more readers than, say, historians like Mill’s and Vincent Smith.
“Published in 1862, Beveridge’s A Comprehensive History of India is an important landmark in the historiography in modern India. In writing it Beveridge did not trust to previous compilations but derived his materials as much as possible from original and official sources. Written after due research in a perspicuous style, Beveridge has narrated the history of India beginning with its earliest period and continued to be mutiny of 1857, thus making his history a complete and comprehensive history of India. Besides, Beveridge’s interpretation of history is more objective and impartial than many historians of India who wrote before and after him. As a result it became possible for Beveridge to see the many events of Indian history without being biased. That is why Beveridge will find today more readers than, say, historians like Mill’s and Vincent Smith. “
Volume four contains 1344 records on South and Southeast Asia selected out of 1800 records from the ABIA South and Southeast Asian Art and Archaeology Index database. Volume four has been compiled by the ABIA project team at IGNCA New Delhi. It includes all forms of scholarly publications, ranging from survey works to small but important articles in composite books and journals published in India between 2006 and 2011. Subjects include pre- and protohistory, historical archaeology, ancient art history, modern art history, material culture, epigraphy and palaeography, numismatics and sigillography (seals). The bibliographic descriptions (with the original diacritics), keywords and annotations have made this reference work a reliable guide to recently published scholarly work in the field.
Volume four contains 1344 records on South and Southeast Asia selected out of 1800 records from the ABIA South and Southeast Asian Art and Archaeology Index database. Volume four has been compiled by the ABIA project team at IGNCA New Delhi. It includes all forms of scholarly publications, ranging from survey works to small but important articles in composite books and journals published in India between 2006 and 2011. Subjects include pre- and protohistory, historical archaeology, ancient art history, modern art history, material culture, epigraphy and palaeography, numismatics and sigillography (seals). The bibliographic descriptions (with the original diacritics), keywords and annotations have made this reference work a reliable guide to recently published scholarly work in the field.
Dr. Tanaka, for the first time ever, explores the absence of the Buddha-image in early Buddhist art. Applying the motif of the empty throne, she undertakes a comparative study of Buddhism and other religions.
It is next to impossible today to even think of Buddhism without the presence of the Buddha image! The image of the Buddha, in truth, has not only come to symbolise the essence of Buddhism but is also a brilliant expression of the cultural/artistic achievements of the Buddhists since ancient times. Surprisingly, the Buddha image developed at a later stage of the evolutionary process; after the parinirvana of the Buddha, the Buddhists for a considerable time beheld the Buddha and experienced him in their own minds without taking recourse to the Buddha image itself. In Absence of the Buddha Image in Early Buddhist Art, Dr. Tanaka, a well-versed scholar, has for the first time ever explored the absence of the Buddha image in Buddhist art particularly in the period from third century bc to late first century ad in order to rediscover the significance of this phenomenon. Dr. Tanaka observes Bharhut and Sanchi sculptures to point out the most essential motifs and elements of stupa-art design the visible facts pertaining to the absence of the Buddha image. The author studies the religious, philosophical, artistic and political significance of the visible facts, highlighting the concept of the empty throne as the motif representative of that absence. She applies the empty throne concept to the sanctuaries of monotheistic religions, and thus undertakes a comparative study of Buddhism and other religions, particularly, Zoroastrianism, Judaism, Christianity, Islam and Sikhism to suggest that present-day discussions on the linkage between religions can centre on this theme. The dexterous handling of the topic combined with the authors use of first-hand research material makes this an erudite study. The directness in the authors approach and the unwavering eye on the theme sustains the interest throughout. An abundance of visual material, i.e., drawings and photographs, and tables immensely aid in analysis of the visible facts. This intense work on a rich theme offers well-researched and interesting material that will be useful to scholars of religious studies, fine arts and even philosophy.
This collection of essays takes a broad view of South Asian art and culture by providing a wide geographic and chronological scope. Each essay on its own constitutes a solid, well-grounded academic study, but taken collectively they provide a wide and inclusive view of issues of art and material culture that span the region and invite comparison.
All too often, modern scholarship limits its scope according to the boundaries of contemporary nations and current geopolitical borders. Academic expertise frequently ties itself artificially to these pre-defined spaces and in so doing often does a disservice to the past. It is no great revelation to point out that people of the past defined the limits of their political and cultural reach in ways that were very different from those found on modern maps. Ancient rulers, merchants, and priests understood the reach of their influence and defined foreignness in ways that would be deeply unfamiliar to those only knowledgeable of the modern world. Yet, despite the well-recognized truth in these observations, it is still relatively rare for scholars to research in ways that transcend modern boundaries.
This collection of essays invites readers to take a broad view of South Asian art and culture by providing a wide geographic and chronological scope. The articles are united only by their focus on art historical and archaeological concerns and their concentration on South Asia ranging from Afghanistan to the island kingdoms of Indonesia. Each essay on its own constitutes a solid, well-grounded academic study, but taken collectively they provide a wide and inclusive view of issues of art and material culture that span the region and invite comparison.
By taking this approach, this volume is a tribute to Prof. Robert L. Brown whose lifetime of teaching has always emphasized connections as well as differences. Over his professional career, he has trained a large cohort of students (many of whom are contributors to this volume) whose expertise truly does reach across the south of Asia.
Akbar, the most powerful Mughal emperor, was a great aesthete and promoter of arts. Eminent Persian and Indian artists thronged his Royal Studio who were studiously committed to paint numerous emotive miniatures of style and substance, communicating highly complex narratives. These minitatures are a beautiful manifestation of human expressions, vividly encapsulating moments of history for posterity.
Mughal miniatures are a vivid account of the cultural, sociopolitical scenario of the Mughal era. Jalal-ud-Din Muhammad Akbar, the most powerful Mughal emperor, was a great aesthete and promoter of arts. Eminent Persian and Indian artists thronged his Royal Studio and were encouraged to paint numerous emotive miniatures of style and substance, communicating highly complex narratives. These miniatures are a beautiful manifestation of human expressions, vividly encapsulating moments of history for posterity.
This book combines the sources and methodology of history and art history of the Mughal era, and is an analysis of a select group of paintings of Akbar’s reign. The miniature paintings incorporate a wide variety of rich, vibrant and varied themes, ranging from durbar scenes, depicting Akbar in different moods and forms, the princes and nobles in their finery, hunting and battle scenes, elaborate scenes of royal births, construction scenes, ascetics, common man, and countryside scenes, to the flora and fauna. Individual analyses of these miniatures, shows the manner of their composition and the inherent value of their sociocultural content in a lively manner. These paintings became a passion and a diversion for Akbar, who had an innate aesthetic sense.
However, there are hardly any true-to-life paintings of women of the royal seraglio. This book thus attempts to cover some images of femininity, whether it is of Queen Alanquwa, Akbar’s mother, or of Madonna as sacred mothers, and women, per se, in different roles. These miniatures make one wonder how much these women contributed to the life of Mughal India.
This unique volume, having given transliteration and translation of the original Persian text of the miniatures, provides an insight into Akbar as an aesthete, and will help academics and laymen alike in appreciating the beauty and history of Akbar’s period.
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